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Prashantt Rai

Member Since 09 Jun 2013
Offline Last Active Yesterday, 02:16 PM
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Posts I've Made

In Topic: First DP Reel

10 January 2019 - 10:30 AM

  Don't worry about "what sucks" as long as you continue to make reels, its all good. keep up the good work.


In Topic: My new cosplay documentary being shot on film

31 December 2018 - 04:40 AM

the footage does look good. wishing you all the best to get a good finished doc in hand.

cheers


In Topic: Copyright Collectives and Cinematographers

26 December 2018 - 12:30 AM

 

Musicians and still photographers use their creativity to create "stand-alone' works of art (separate from the film) that may have potentially tremendous value apart from the value of the film. To wit: the soundtrack of a mediocre and/or poorly grossing film that sells millions of albums or downloads. Granted, still photographers can't seem to exploit their "stand-alone" artwork as much as the musician, but it does seem fair that both have that contractural right.

 

Unfortunately, the genius contribution of the cinematographer, editor, set designer, costume designer, etc., has zero value apart from the film itself. Even more unfortunately for them, the contribution of their works of art, great as they may be, can at best be only a necessary condition of the success of the film, history has shown. 

 

Whereas the contribution of a screenwriter, an actor or sometimes a director can be and often is a sufficient condition of the success of the film. In that sense, it does seem fair that they command a potentially higher amount of money for their services.    

 

Edge case: a costume designer whose design "takes off" and is sold in stores, (very rare, but I would also hazard a flat-out guess that they have some contractural rights in that regard, for their "stand-alone" objects).

 

Edge case: the Zapruder film, where a frame grab has great value (I can't think of any other film where a frame grab, even in a documentary, has had any real value that that the cinematographer could realize). 

 

Not really an edge case: a Stan Brakage type film, where the cinematography and editing seems to be the only thing on screen but where Stan can be compensated as a producer, "writer" and "director" who provides sufficient value towards the success of the film.

 

That is my take, that "stand-alone" creations and providing a potentially sufficient condition for the success of a film account for those seemingly unfair contracts.  

 

 

 

 

 

 

Thanks Pappas,

 

this is what I wanted to know  - stand alone creations/work of art. Thanks for the lucid explanation.


In Topic: Copyright Collectives and Cinematographers

24 December 2018 - 02:47 AM

Why do Musicians, Writers, and even photographers have copyright and get royalty. Why are cinematographers 'work for hire'?


In Topic: Super 16

13 December 2018 - 07:19 AM

The last time I saw 16mm projection was in early 80s. I lived in a small township. Every weekend they showed Bollywood movies on a giant screen with 35mm projectors. sometimes they showed documentaries or children's films or maybe some off beat movies on 16mm. The audience crowd wasn't that big though but still a lot of us sat and watched those movies.

 

Fast forward to 2010s, era of multiplexes. Some auditoriums have big screen and 800 seats and sometimes there are only 10 people sitting and watching the movie. Its a waste of resources - electricity, staff, air-conditioning, etc.

 

May be somebody will take a cue and start a chain micro movie parlours with 16mm projection with a seating capacity of say 20-30 people. I am sure there will be plenty of content coming forward. 


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Media Blackout - Custom Cables and AKS

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Broadcast Solutions Inc

Ritter Battery

Visual Products

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